IWOW is a work of pure hubris and self-aggrandizement, entirely devoid of the humanity that has informed Allah’s previous works. Over the course of his career,…
Night in Paradise scans like any number of slow-burn gangster flicks, but suffers for lack of originality in both its action and drama. Park Hoon-jung’s…
Not all of the poetic evocations of Jessica Sarah Rinland’s Those That work, but it’s still a lively, playful, and niche document of art creation.…
Unlike Puiu’s similarly-shaped Sieranevada, Malmkrog is all empty abstraction, mistaking prattle for praxis. “For a talking cinema”: that’s the title that a young Maurice Scherer, not yet christened…
Thunder Force is yet another high-concept comedy collab between McCarthy and Falcone that fails at, well, being funny. On its surface, a film like Thunder…
The Power doesn’t hold a lot of mystery but thrives by situating its political and cultural critiques as blunt, horrific text. There’s something sinister lurking…
Mamade Claude isn’t much more than shallow period dress-up and empty provocation. Set, for the most part, in the final tumultuous years of the Swinging…
Concrete Cowboy features a pair of solid performances and a sleek visual design, but suffers under the weight of its paint-by-numbers approach to narrative. Set…
WeWork is somewhat limited in focus and doesn’t always plumb deeply, but remains an intermittently fascinating portrait of a conman and his grift. When applying…
Bad Trip fulfills its minimum obligation to produce a baseline number of laughs, and does very little else. Bad Trip is yet another casualty of…
Tina might not be as encompassing as some viewers might like, but the result is a moving, celebratory tribute doc all the same. One of the…
Violation is a stunning debut feature that matches its its thorny discourse with impeccable technical craft. Writer-director duo Madeleine Sims-Fewer and Dusty Mancinelli have been making…
For better or worse, Yes Day is essentially what you expect it to be: a sweet, sitcom-styled family comedy. The new Netflix family comedy Yes…
Sentinelle isn’t Leclercq’s best work, but it’s a gritty, nuts-and-bolts actioner in its own right. Netflix has a tendency to push a few high-profile titles every…
Moxie boasts a surprisingly lush visual design, but its soft script and weak character development leaves a lot to be desired. Adapted from Jennifer Mathieu’s 2017…
Sponge on the Run could have been a nostalgic charmer, but is instead little more than a bit of cheap brand marketing. After 22 years, Spongebob…
The Orphanage can be flat and predictable for stretches, but it also tilts its formalism toward a playful character enough to suggest Sadat is worth continuing…
Boss Level is dumb and familiar and, well, bad, but it also manages to inject enough consistent fun to keep it just barely afloat. Like an…
Lucky is a surprisingly substantive film, particularly given its slight runtime, but suffers from spoon-feeding viewers its messaging. A masked man breaks into the home of…
Despite its credibility and collaborators, I Got a Story to Tell doesn’t bring much new insight or verve to this latest treatment of Biggie’s life and…